My aim is to offer insights into some of the more subtle principles underpinning prints. The commentary is based on thirty-eight years of teaching and the prints and other collectables that I am focusing on are those which I have acquired over the years.
In the galleries of prints (accessed by clicking the links immediately below) I am also adding fresh images offered for sale. If you get lost in the maze of links, simply click the "home" button to return to the blog discussions.

Thursday, 24 August 2017

“Le Bateau Atelier” (aka “The Studio on the Boat” [Melot title]), 1861,
from the series/album, "Voyage en Bateau" [The Boat Trip], published in
1862 by Alfred Cadart (1828–75), Paris, and later in the "Gazette des
Beaux-Arts", 1874, and printed by Auguste Delâtre (1822–1907). This impression
is from the "Gazette des Beaux-Arts" edition of 750 copies (?).

Final state: Deteil describes this impression as ii (of ii) and
Melot describes it as iii (of iii). Melot does not provide details as to why
this impression is the third state which is unusual for Melot (see p. 281).

Condition: richly-inked and well-printed impression with margins.
There are faint traces that the print was once window-mounted, but the
toning and glue residue are only slightly visible. There are also light pencil
notations in the margin at lower right. Beyond these minor issues the print
is in excellent condition (i.e. there are no tears, holes, folds, abrasions,
stains or foxing).

I am selling this rare and even iconic Daubigny etching for the
total cost of AU$179 (currently US$115.36/EUR97.74/GBP90.07 at the time of this
listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this rare self portrait of
Daubigny at work in his famous studio boat, “Le
Botin”—the little box—please contact me (oz_jim@printsandprinciples.com) and I
will send you a PayPal invoice to make the payment easy.

This print has been sold

This is arguably Daubigny’s most famous print from the
series/album, "Voyage en Bateau" [The Boat Trip], in that it reveals
the artist’s approach to painting the landscape from his tiny studio boat that
he affectionately referred to as "The little Box". What I find
especially revealing about his approach,or more precisely his mindset when
painting—noting that the portrayed brushstrokes shown on the canvas upon which
Daubigny works are not pointless perfunctory scribbles, but are freely sketched
marks referring to the boat and trees seen through boat cabin’s entrance—is
spelt out by the word ‘réalisme’ inscribed on the back of the canvas in the
foreground shadows and what I am advised by Wickeden in
Melot’s (1981), "Graphic Art of the Pre-Impressionists”, "'Le
travail tient l’â’me en joie’ (Work keeps the soul joyous)” (p. 281).